Saturday, February 21, 2009

At Narren-teatern in Stockholm, the Beatles recorded an appearance on the Sveriges Television show Drop In before a live audience in a small theatre in the Grona Lund amusement park. They were persuaded by presenter Klas Burling to extent their set from two to four numbers and performed 'She Loves You', 'Twist And Shout', 'Long Tall Sally' and 'I Saw Her Standing There'. Also on the bill were Gals & Pals and the young singer Lill-Babs who appeared in many photographs with the group.

Friday, February 20, 2009

Press conferences in America were something else. The boys kept up a non-stop stream of comedy. Asked what they thought of topless bathing costumes, Ringo said seriously, with that well-known frown creasing his face: "We think they're great. We've been wearing them for years!"

Hectic days, but the big thing was that the Beatles immediately recognised any English face in the audience. Journalists who'd gone out, on spec, to see the boys were instantly recognised. And this is something that holds true even now. It's pointless suggesting that the Beatles are uniformly pleasant to everybody connected with the Press, but they certainly do always remember their mates from the early days.

Over that Elvis and the Beatles bit: it wasn't until 1965, in September again, that the two major attractions actually met up.

And the main point that came out at that historic meeting was that the Beatles virtually felt more sorry for Elvis than did Mr. P. for them. It was John who summed it all up: "When the fans went for you, you were up there all alone. With us, it's four against everybody and we can draw support from each other." And on the flying business, bugbear of all top stars, both Elvis and the Beatles said that they didn't really like it, especially the take-off and the landing. Elvis had, after all, been caught in a two-engine plane when one of the propellers failed. "I was scared", he admitted . . . but all the boys agreed that you simply had to fly to keep appointments with far-flung fans.

But two years ago the main problem, as now, was to keep the peace. It was like war breaking out whenever the Beatles appeared and it must be admitted that there were grumblings of discontent. Radio reporters were kept away from the boys, because of over-strict police control. Journalists never got to ask their questions. Even Paul, who accepted American behaviour with the mildest of comment, said: "It gets a bit much. Even if a friend, a journalist, wants to get in to see us, there's some massive police force putting up the blocks."

Meanwhile, back home, the Beatles were winning just about every pop poll. And getting invitations from their old friends back home. We think Paul probably hit on the essential loneliness of stardom when he said: "I've got this invitation to a wedding of an old mate of mine. I'd love to go. But you know how it would be. Riot scenes and all that. It'd spoil his day and it'd spoil mine. You just can't lead the sort of life you want to. And don't take this as being a knock at the fans, because we owe everything we've got to them . . ."

The Beatles came back to Britain with "A Hard Day's Night" dropping rapidly in the charts. It had had a very good run. They came back with everybody from the Prime Minister downwards singing their praises because they'd been darned good ambassadors and they'd never let Britain down. Their immediate needs included material for a new LP and for a new single. Said George: "We made our name on records and we've got to try to keep up the same standards. We can't just rush into a studio and do something and think that's all there is to it. We must work and work and work . . ."

Thursday, February 19, 2009

We promised news of the summit meeting between Brian Epstein and Colonel Tom Parker, of Elvis Presley fame. It was a lunch date and quite unbelievable in that it concerned two men controlling a multi-million dollar industry. Elvis himself couldn't be there, but he stressed how keen he'd been to meet the Liverpudlians. But he'd had a break from filming and he'd made arrangements to be in Memphis, Tennessee.

Eppie asked the Colonel if Elvis would do much touring in the future and Parker replied: "We'd love to hit the road, but we have to think of giving the maximum enjoyment to the maximum fans and the best way to do this is by making films, which can be seen by millions". The Beatles have faced teh same problem in the years since this meeting. It's impossible to be in every part of the world at the same time, but if you make a movie it can be seen by hundreds of thousands at the same time.

Brian Epstein, which his expanding list of artists under his control, was apparently surprised to hear that the Colonel had had only one artist . . . Elvis. But it was pointed out that the Colonel was 44 years old when he first met up with Elvis; Brian Epstein was only 28 when he first started guiding the Beatles.

The tour of America, in September 1964, was very hard on the Beatles because the temperature was usually in the region of 100 degrees. We think it was Ringo who first complained. He said that each show took more out of the boys than a Cup Final would from a professional footballer. But the Beatels did two shows a night . . .

Yet, a couple of years prior to this U.S. tour, the Beatles had (minus Ringo) been sweating out hours a night in the clubs of Hamburg. What was the difference? Let George answer: "Nervous strain, that's where it was all so different. If you're only getting a few pounds a night, you can let everything rip and ejoy yourselves. But if the total taken at the box-office is thousands and thousands of dollars, you know that you can't afford to make any sort of mistake."

Hollywood, for sure, will never again be the same. The Beatles dominated everything, with stars like Jayne Mansfield hurrying to get a signature or a chat or a smile from the boys. Movie City, home of the biggest names in the earlier history of show business, fell about trying to entice the Beatles to functions.

Actually it must be said that good ole Ringo was the star of the whole tour. This attitude started because teenagers looked on him as being the newest boy, the one who almost was in the background, but Ringo himself consolidated his position by some magnificent clowning and fooling. Even Colonel Parker said: "That drummer, that Ringo, would be a natural in movies--I can see him being a very funny fellow." At the same time, the Colonel was handing out souvenirs to the boys, includign specially decorated holsters and table-lamps made in the shape of old Western coaches.

People were saying then, in 1964, that Ringo would probably leave the group and try his hand at a solo career. Ringo repeatedly told us that his whole future lay in the Beatles and that he'd not do anything outside the group. Now we have the news that it is John Lennon who is going off on his own for a while, to take up a film role. But this is really no great surprise because all the Beatles intend to try things.

Wednesday, February 18, 2009

On August 29, 1966 at Candlestick Park in San Francisco, California, the Beatles performed before a paying audience for the last time. It was seen by 25,000 fans. Their last number on stage was "Long Tall Sally," one of their Hamburg show-stoppers.

By this time the whole group, even Paul who had held out the longest for a continuation of touring, knew that the concerts had to stop. With posterity in mind, he asked the Beatles press officer to tape the performance on his hand-held cassette recorder. George expressed his relief on the plane home: "That's it. I'm no longer a Beatle," he announced.

John: "On our last tour people kept bringing blind, crippled and deformed children into our dressing room and this boy's mother would say, 'Go on, kiss him, maybe you'll bring back his sight.' We're not cruel. We've seen enough tragedy in Merseyside, but when a mother shrieks, 'Just touch him and maybe he'll walk again,' we want to run, cry, empty our pockets. We're going to remain normal if it kills us."

The Bob Fass Radio Show1. Finding An Ashtray and a Soft, Comfortable Chair (3:57)2. Suede Shades (1:38)3. "What I really dropped in for, was to use your phone" (2:43)4. "I Wanna Hear That Lightnin' Hopkins Record" (3:05)5. "Is It Possible To Come Over And Take A Couple Pictures?" (5:02)6. "May I Speak To Mr. Dylan Please?" (4:03)7. "You'll Have To Call Me Back In The Morning" (1:02)8. "May I Speak To Phil Ochs, Please?" (0:38)9. "Hello, Is Mr. Dylan There?" (1:42)10. "I Have To Get A Drink Of Water Now" (3:10)11. "You Have To Go Through Something" (1:39)12. Tea With Lemon (2:11)13. Dial-A-Prayer (0:22)14. "Al Kooper Played It For Me" (1:35)15. "I'd Like To Remind Everybody We're On The Radio Here" (2:45)16. "There You Have It In A Nutshell" (2:02)17. "I Give Them Things...Like Rocks" (1:19)18. "Larrie, Spell Your First Name" (2:35)19. "Hey, We're Fighting Over You" (1:33)20. "See Ya Later" (0:31)

VT-193 26 Tracks - Total Time: 45:06

January 26 - WBAI-FM Studios, New York, New York - Part Two

The Bob Fass Radio Show1. "But This Is A Drag" (3:44)2. "Are You Gonna Play More Music Tonight?" (0:50)3. "All You Have To Do Is Be Sweet Loveable Bob Dylan" (3:45)4. "I Think You've Played, You Know, Long Enough" (0:34)5. "We'll Just Split, Right" (0:22)6. "Bob Dylan Is Beautiful, Bob Fass Is Beautiful and Radio Un-Nameable Is Beautiful" (1:00)7. "I Don't Want To Talk To Bob Dylan (1:13)8. "Did He Ride The A-Train Down To WBAI Tonight?" (0:30)9. "Mother Revisited" (1:23)10. "Bob Fass, Please?" (0:42)11. "Can I Talk To Bob Dylan?" (1:32)12. "What Do You Want To Know?" (1:47)13. "Did The Tea Ever Come?" (1:07)14. Yeah, I'd Like To Ask Bob Dylan A Question" (1:09)15. "Good Morning" (0:47)16. "I Didn't Think I'd Get On So Fast" (1:02)17. "Not Everybody Has The Courage To Sing Like I Do" (1:03)18. "You're A Pretty Smart Fella" (1:21)19. "I'm Recording This On Tape, And I'll Be Sending A Dub Over To Them As Soon As I Can" (2:04)20. "You Wanna Take Some More Calls?" (0:56)21. "What Grade Are You In?" (8:44)22. "I Won't Say The Same Thing, Now" (1:05)23. "You Got The Wrong Number" (2:55)24. "Wait, I'll Go With You" (2:14)25. "You Might As Well Take A Train" (1:26)26. "Thanks For Playing The Record For Me" (1:51)

Herein on 26 CD's are all the extant recordings of the Bob Dylan / Hawks 1966 World Tour (apart from those still locked away in the vaults), along with interviews, alternate studio performances and mixes, and even some informal hotel room recordings. In addition, this set contains an exact reproduction of the rare 1966 tour program as well as a 100 page book of text and photos documenting the tour and Bob Dylan in 1966.

The 1966 Dylan / Hawks World Tour is the stuff of legend. But unlike most legends from a bygone era, the goods are here to back this one up. Right here, in this boxed set. Listen and enjoy.

The 1966 Dylan / Hawks World Tour is the stuff of legend. But unlike most legends from a bygone era, the goods are here to back this one up. Right here, in this boxed set. While knowing the historical context of these performances will no doubt increase the listener's enjoyment of them, it's not crucial to the understanding of why they are so exalted. All one needs to do is LISTEN.

Herein are all the extant recordings of that tour (apart from those still locked away in the vaults), along with interviews, alternate studio performances and mixes, and even some informal hotel room recordings. Even a cursory listen to them will reveal one clear truth -- that Dylan was ON every night (and every day) in 1966. "On" both in terms of performing splendidly and his bringing his art to new levels, but also "on" in the sense that he was DYLAN (not Bob or Bobby, and surely not Robert Zimmerman) every single moment, on stage and off. From his biting put down of an Australian journalist ("are YOU successful?"), to his clever ways of dealing with audience hostility ("if you wouldn't clap so hard") to his weary yet triumphant "thank yeeeeew" that ends the famed Manchester concert, he was INSIDE everything he did, with every ounce of his being.

Except for some brief flashes during the 1979/80 "Born Again" Tour, and a few magical nights of the "Never-Ending Tour", Dylan (or any other rock performer, for that matter) has never again achieved this level of intensity, or challenged his audience so greatly while not being pretentious, condescending or boring. It's clear that the quality of the performances were in direct relationship with the hostility coming from the crowd, but it was more than that. Dylan just KNEW he was right about the quality of his music, and nothing could (or did) sway him. And even if Dylan's motorcycle crash in the summer didn't bring this era to a close, something else (burnout? drug OD?) WOULD have. Levels of brilliance of this sort are not designed to be maintained. But the residue is still with us. So listen up!

Being a sincere and devoted Lennonite, I have for some time (a year, to be precise) been puzzled as to what I could give you for a birthday gift. I mean, what do you GIVE the man who has everything? At last, while reading A SPANIARD IN THE WORKS upside down through right side up glasses, I have at last hit upon the solution! Wham! Zowie! El Pifco!!

The only thing you don't have of course, is--ME! Now, before lovely Mrs. Lennon begins to doubt my honourable intentions, let me explain:

NATURALLY, I know you adore your Cyn, and love nothing more than being with her. SO, for the past several months I have undergone a rigorous training course in the arts of bed-making, dish washing, floor sweeping, dusting, and various other chores which will make me an efficient and indispensable household item. Therefore, I can relieve Mrs. Lennon of her tedious household chores, and enable her to spend that time with you. Also I am accustomed to caring for children of all sizes and ages, and will be only too glad to add the care of your small son to my duties.

My services are offered to you for a FREE home trial, beginning on your birthday and continuing indefinitely (sorry, not trading stamps). I'll be arriving in London on October 9th, all ready to begin. All I need are directions to your residence (perhumps Good Dog Nigel could guide me in?). If you like we can finalize details on August 13th, when we shall both be in Detroit to attend your Concert(s), which I am looking forward to a great deal.

Gosh, don't get all misty--although I can certainly understand how overwhelmed you must be by my unique offer.

Your Loving Fan withHousemaid's Knee,Judy JohnsonHowell, Michigan

John replies:--Well, quite honestly I don't know what to say (which makes a change), but nevertheless, never let it be said that Lennon's stuck for words! I've had lots of offers (hee, hee), but never one like this. I'm not underestimating your ability or anything like that Judy, it's just that we've got a lady to clean the house for us, but I'll have a word with one or two or my other influential friends, and see if they need anyone.

Monday, February 16, 2009

Could you please tell me if you recorded "Yellow Submarine" to see if it would sell because YOU were singing it? Let's face it, it sounds like the Sally Bash Army on a Saturday afternoon. I just don't believe you take this recording seriously because you're usually such perfectionists. Please, please, we want our Beatle music, not a third-rate, amateur tin pot band.

For pity's sake don't give the newspaper's a real chance to tear you to pieces.

Best Wishes,

Pauline,Aldershot, Hants.

John replies:--What do you mean "the Sally Bash Army on a Saturday afternoon"? I'll have you know that was our piece-de-resistance written specially for Ringo--we think it's a gas. As for saying we don't take our music seriously . . . . . . . . . . . . . well. The reason we released it as a single with "Eleanor Rigby", was apart from liking them both, we didn't want anyone else to cover them.

Producers: tracks 1-24 produced by Tony Henebery. Tracks 25-28 produced by Bernie Andrews.

Composers: all written by Lennon-McCartney except 1 by Berry, 3 by Willson, 4 by Perkins, 5 by Holland-Bateman-Gorman-Dobbins-Garrett, 6 by Romero, 7 by Thomas-Biggs, 8 and 20 by Holly, 9 by Leiber-Stoller/Penniman, 10 by Spector, 11 by Theodorakis-Sansom, 12 and 28 by Russell-Medley, 13 by Johnson-Penniman-Blackwell, 16 by Robinson, 18 by Charles-Richards, 21 by Schroeder-Tepper-Bennett, 22 by Wilkin-Westberry, 23 by Drapkin, 24 by Williams and 26 by Thompson.

Photos: the cover and back photos were shot inside and outside of EMI's Abbey Road Studios on July 1, 1963, probably by EMI staff photographer John Dove. The inside portraits were shot in June of 1963 by Dezo Hoffmann.

Performers: John Lennon sings lead on 1, 5, 6, 9, 37-41 and 43; shared lead on 7, 8, 10-36 and 42, and backup on 2-4; and plays acoustic guitar on 24-36, harmonica on 4, 17-19 and 42 and rhythm guitar on tracks 1-23 and 37-43. Paul McCartney sings shared lead on 7, 8, 10-36 and 42; and backup on 1-6, 9, 37-41 and 43; and plays bass guitar on all tracks. George Harrison sings lead on 4; backup on 1-3, 5 and 6, and plays lead guitar on all tracks. Ringo Starr sings lead on 2 and 3 and plays drums on all tracks. George Martin plays piano on 7 and 8 and celeste on 9.

Producers: all produced by George Martin.

Composers: all are by Lennon-McCartney except 1 by Alexander, 2-3 by Dixon-Farrell, 4 by Goffin-King, 5-6 by Russell-Medley and 9 by David-Bacharach-Williams.

Photos: all were taken in London on March 5, 1963 by John Dove; the cover shot outside EMI House, the back photo in the EMI Abbey Road Studios canteen and the inside shot in Studio #2.

Performers: except where noted the lineup is George Harrison, lead guitar; John Lennon, rhythm guitar; Paul McCartney, bass; Pete Best, drums. Ringo Starr takes over on drums on tracks 26-29. John sings lead on 2, 5, 7, 9, 17, 23 and 27; shared lead on 26 and 28; and back-up on 4, 8, 10-12, 14-16, 18-20, 22, 24, 25 and 29. Paul sings lead on 1, 3, 8, 12-16, 18, 21, 22, 24 and 29; shared lead on 26 and 28; and back-up on 2, 4-6, 9-11, 19, 20, 23, 25 and 27; and possibly the piano on 19 and 20. George joins John on rhythm guitar on 19 and 20; sings lead on 4, 6, 10, 11 and 25; and back-up on 2, 5, 9, 12, 14-16, 18-20, 23, 24, and 29. Tony Sheridan sings lead and plays lead guitar on 19 and 20. Track 20's inclusion is based on the strong probability that it is the second track known to have been recorded at this session.

Composers: 1, 9, 12, 22 and 23 by Lennon-McCartney; 2 by Bradford-Gordy; 3 by Willson; 4 by Snyder-Wheeler-Smith; 5 by Spector; 6 by Goffin-King; 7 and 17 by Berry; 8 by Perkins-Cantrell-Claunch; 10 and 15 by Leiber-Stoller; 11 by Holly; 13 by Dublin-Warren; 14, 21 and 24 by Velasquez-Skylar; 16 by Walker; 18 by Holland-Bateman-Gordy; 19 by Bernie-Pinkard-Casey; 20 by Foster; 25 by Beveridge-Oakman; 26 and 28 by Leiber-Stoller-Barrett; and 27 by Murray.

Photos: the cover shot, colorized by the crafty Silent Sea graphics department, was taken by Albert Marrion in June of 1962 at his Wallasey studio, the same locations where he had shot the back photo on December 17, 1961. The inside photo was taken at the Cavern Club, Liverpool by Les Chadwick in September of 1962.

At Granada TV Centre in Manchester, The Beatles mimed 'I Want To Hold Your Hand' and 'This Boy' and were later interviewed with Ken Dodd by Gay Byme for Granada's Scene and Late Scene Extra programmes.